The Seeburg 1000 Background Music System, a marvel of its time, offered an innovative approach to ambient music, especially during the bustling Christmas shopping seasons of the 1960s and 1970s. Unlike today's often relentless holiday music loop, the Seeburg 1000 system interspersed Christmas tunes with various non-seasonal tracks, ensuring the holiday spirit was gently woven into the shopping experience without becoming overbearing. This method reflected a broader societal respect for the Christmas season as a distinct and bounded time, a sentiment that retailers and public spaces honored by limiting the duration of holiday music to the season itself.
The discovery of a nearly complete set of these background music records, with a service initiation date just after Thanksgiving 1967, provides a fascinating glimpse into the practices and preferences of the era. The timing of the music's deployment suggests a late arrival of the replacement set, pushing the boundaries of when holiday music would traditionally begin to fill the air. Yet, the extension of this music into early January indicates flexibility in the post-holiday wind-down, a nod to the lingering festive spirit.
The track listing itself is a treasure trove of musical diversity, blending Christmas classics like "Deck The Halls" and "Silent Night" with selections from musical theatre ("I Got Lost In His Arms" from Annie Get Your Gun), popular standards ("A Lovely Way to Spend an Evening"), and even hints of Latin flair ("Adios Muchachos" or "I Get Ideas"). This eclectic mix not only served to help maintain a fresh and engaging atmosphere but also reflected the Seeburg 1000's aim to cater to a wide array of musical tastes.
Furthermore, including non-seasonal tracks amidst the holiday songs underscores the system's design to subtly remind shoppers of the season without saturating their senses with constant Christmas music. This approach likely helped maintain shoppers' positive, festive mood, encouraging them to linger and shop longer. The presence of unknown titles in the tracklist adds an element of mystery and highlights the challenges in comprehensively documenting and preserving the history of background music systems. Each unidentified track represents both a gap in our understanding and an opportunity for discovery, inviting enthusiasts and historians alike to continue exploring the rich auditory landscape of the past.
With its mixture of known and unknown tunes (many likely in-house Seeburg production pieces whose names have been lost to time), this set poignantly reminds us of the evolving practices in public music presentation. It also highlights the enduring appeal of vinyl records as artifacts of cultural and historical significance, offering insights into the technological, social, and musical trends of their times. For collectors and historians, the Seeburg 1000 records are not just objects of nostalgia but valuable pieces of a bygone era's ambient soundscape, inviting us to listen closely to the echoes of the past.
Here is a track listing: Side A:
A1- [unknown title]
A2- Deck The Halls
A3- "I Got Lost In His Arms" from Annie Get Your Gun
In the early 1950s, amidst a society grappling with rigid social norms and the nascent stages of the Civil Rights Movement, Little John Records emerged as a trailblazing children's label. Beyond its distinctive five-inch records and non-vinyl plastic material, the label stands out retrospectively for its progressive messaging. It was subtly integrated into the engaging compositions of in-house songwriter Pat Ballard. This post delves into the deeper meaning behind Ballard's songs, such as "Percy The Catface Dog" and "Tornoni the Pink-eared Pony," and how they advocated for a more inclusive society, along with the label's unique distribution strategy and enduring legacy.
Percy The Catface Dog: A Metaphor for Desegregation and Acceptance "Percy The Catface Dog" encapsulates a powerful message of inclusion and acceptance, serving as a metaphor for the segregated society of the early 1950s. The song's protagonist, Percy, faces rejection and ridicule from the dog and cat communities due to his unique appearance and ability to meow and bark. However, the narrative turns when Percy boldly defends himself against his jeering peers, asserting that no one in the "Animal race" should be made fun of based on their appearance and that all are worthy of inclusion and acceptance.
By drawing a parallel between the "Animal race" and the human race, the song advocates for a desegregated society where people are not excluded or ridiculed based on their appearance or ethnicity. The narrative arc mirrors the broader societal push toward understanding and embracing diversity by moving from rejection to acceptance. For a children's record released in 1951, this message was remarkably progressive, addressing themes of acceptance and the harmful effects of bullying while promoting a message of unity and inclusion.
Tornoni the Pink-eared Pony: Celebrating Uniqueness and Potential "Tornoni the Pink-eared Pony" is another original composition by Pat Ballard that celebrates the beauty of being different. Tornoni, initially shunned for his large, pink ears, finds acceptance when a young boy recognizes the potential in his unique features. Together, they enter a pony race, with Tornoni's ear-wings propelling them to victory. This triumph leads everyone to recognize that Tornoni's ears should be celebrated rather than ridiculed.
The song teaches children that what makes someone different can be their greatest strength and encourages listeners to look beyond initial judgments to recognize the potential within everyone. The story of Tornoni encapsulates a powerful lesson about the value of embracing and celebrating differences, resonating well beyond its target audience of children.
Alongside the socially conscious songs, Little John Records featured soothing lullabies like "Cry, Baby, Cry," showcasing Ballard's versatility as a songwriter. This gentle tune underscores the importance of comfort and reassurance, providing a sonic embrace that transcends the need for words. Including such lullabies alongside the more progressive songs demonstrates the label's understanding of its young audience's diverse needs and emotions.
Little John Records' unique distribution and packaging set them apart from other children's labels of the time. As reported by Billboard Magazine in the early 1950s, these records were sold at Five & Dime stores for a dime each, without sleeves, making them accessible and affordable to a wide range of families. This approach ensured that the messages contained within the songs reached as many children as possible, underscoring the label's commitment to delivering meaningful content to a broad audience.
Although Little John Records was a short-lived label, its impact on children's music and its progressive message cannot be overstated. The legacy of Little John Records, and specifically Pat Ballard's contributions, lies not only in the novelty of their physical format but also in the enduring relevance of their content. The themes of acceptance, the celebration of differences, and the soothing power of music are as pertinent today as they were in the 1950s.
By embedding progressive messages within engaging and accessible songs, Little John Records contributed to a broader conversation about diversity, inclusion, and empathy, setting a precedent for future generations of children's entertainment. Ballard's work, through its combination of whimsy and wisdom, offers a valuable lens through which to view the intersection of culture, entertainment, and social progress in mid-20th-century America.
Little John Records was more than just a children's label with quirky five-inch records; it pioneered a progressive message of inclusion and acceptance through the power of music. Pat Ballard's original compositions, such as "Percy The Catface Dog" and "Tornoni the Pink-eared Pony," used engaging stories and memorable characters to challenge societal norms and advocate for a more inclusive world.
As we look back on the legacy of Little John Records, we can appreciate the label's courage in addressing important social issues through the medium of children's music and its enduring impact on the genre. These rare five-inch records serve as a testament to the power of music to inspire change, promote inclusivity, and comfort young listeners. By making their records accessible and affordable, Little John Records ensured that their message of unity and acceptance reached a broad audience, cementing their place in the history of children's music as a label that dared to make a difference.
It is important to note that Little John Records was a budget children's label, which accounts for the modest sound quality of these recordings. Nevertheless, these unique releases provide a fascinating glimpse into the world of budget children's music in the early 1950s recording industry. The charming melodies and simple arrangements capture the essence of a bygone era and serve as a delightful reminder of the enduring appeal of classic children's music.
Tracklist:
205A- Percy The Catface Dog 205B- Happy Little Blue Bird
206A Torteori, The Pink Eared Pony 206B- Cry, Baby, Cry
208A- Farmer In The Dell 208B- Billy Boy
209A- Mary Had A Little Lamb 209B- Jack & Jill Went Up The Hill
210A- A- Tisket A- Tasket 210B- Ten Little Indians (NPC)
In the vast landscape of 1950s music, budget record labels were crucial in bringing popular tunes to the masses at affordable prices. Among these labels, Crown Records is a fascinating case study of ingenuity, questionable business practices, and musical preservation. Today, we delve deep into one of Crown Records' lesser-known releases: the Golden Record Award Album Volume 1, a stereo compilation of their Top-12 series from the late 1950s.
The Rise of Budget Labels in the 1950s
The 1950s saw an explosion in the popularity of recorded music, with rock and roll, rhythm and blues, and pop dominating the airwaves. However, not everyone could afford the premium prices charged by major labels for the latest hits. This gap in the market gave rise to budget record labels, which offered cheaper alternatives to music fans. Budget record labels were familiar; they had existed since the industry's early days when phonographs started to become something a regular household had, not just for the well-to-do and wealthy. However, the introduction of the 33 1/3 rpm LP and 45 rpm Extended Play record in the late 1940s changed the way proprietors of budget record materials had to get the masses to buy their records, especially those who were starting to purchase newer equipment that needed new records to play on them. There were multiple waves, the first led by Don Garner and Eli Oberstein, then Tops Records led the charge for a second wave with high quality, reasonable cost budget releases that were desirable by 1955. Crown was quick to join this new market, especially when stereo became a commercial success with the introduction of consumer single grooved stereo record albums in 1957- Tops on their Mayfair line issued stereo records pressed into translucent yellow vinyl, and Crown issued their stereo records on translucent red vinyl.
These budget labels employed various strategies to keep costs down:
Using lesser-known artists or studio musicians
Recording cover versions of popular songs
Utilizing cheaper production methods
Minimizing marketing and promotion costs
Crown Records, founded by the Bihari brothers, was a budget label that succeeded in this era. The label specialized in releasing affordable compilations of current hits, often recorded by uncredited studio musicians rather than the original artists. People back before the advent of Rock and Roll were generally less picky about who was performing a hit song as long as it was competently performed and sounded professional. But not long after the mid-1950s, as rock and roll entrenched itself into the pop music scene, the artist who made a hit song famous became linked to their version, with other covers made by other parties considered tacky covers trying to cash in on a charting artist's latest single.
Crown Records and the Bihari Brothers
The story of Crown Records is inextricably linked to the Bihari brothers: Jules, Saul, Joe, and Lester. These entrepreneurial siblings built a veritable empire in the budget record industry, starting with their more reputable R&B label, Modern Records, in the 1940s.
The Bihari brothers were known for their shrewd (and often controversial) business practices. They recognized the potential in the growing market for affordable records and expanded their operations to include several budget labels, including Crown Records.
While their methods were often questionable from an ethical standpoint, the Biharis' labels played a significant role in making music accessible to a broader audience and preserving lesser-known performances of popular songs.
The Golden Record Award Album Volume 1: A Rare Gem
The Golden Record Award Album Volume 1 is a particularly intriguing release among Crown Records' extensive catalog. Cataloged as CST-112, this stereo compilation is a unique artifact of its time, offering "sound-alike" cover versions of 1958's biggest hits.
What makes this album especially noteworthy is its rarity. Unlike the more common mono Top-12 albums released by Crown, this stereo version is scarce for collectors and music historians.
Track Listing and Original Artists
The album features twelve tracks, each covering a popular hit from 1958. Here's the complete track listing, along with the original artists:
Side A:
"Yakety Yak" (originally by The Coasters)
"High School Confidential" (originally by Jerry Lee Lewis)
"Big Man" (originally by The Four Preps)
"Do You Want To Dance" (originally by Bobby Freeman)
"The Purple People Eater" (originally by Sheb Wooley)
"Secretly" (originally by Jimmie Rodgers)
Side B:
"Cha Hua Hua" (originally by The Pets)
"Sugar Moon" (originally by Pat Boone)
"Jeannie Lee" (originally by Jan & Arnie)
"Who's Sorry Now" (originally by Connie Francis)
"He's Got The Whole World In His Hands" (originally by Laurie London)
"Let The Bells Keep Ringing" (originally by Paul Anka)
This diverse selection of songs represents a cross-section of the popular music landscape in 1958, ranging from rock and roll to novelty songs and traditional pop.
The Sound-Alike Phenomenon
It's crucial to note that the performances on this album are not by the original artists. Instead, Crown Records employed anonymous studio musicians to recreate these hit songs. This practice, common among budget labels of the era, allowed companies like Crown to capitalize on the popularity of hit songs without negotiating expensive licensing rights from the original artists or their record labels.
These "sound-alike" versions were often surprisingly accurate imitations of the original recordings. Skilled session musicians and arrangers would study the hit versions and attempt to replicate them as closely as possible. While purists might scoff at these imitations, they served an important purpose in making popular music more accessible to a wider audience.
Moreover, these cover versions often captured the essence of the original performances, providing a unique perspective on the songs and sometimes even offering interesting variations or interpretations. Some of them (a select few, mind you) transcended the original hitmaker's version in a way that made the "hit" recordings seem inferior. Unfortunately, while most of these tracks are decent sound-a-like covers, none quite meet that bar of budget record label perfection.
Production and Technical Aspects
Stereo Sound: A Cutting-Edge Feature
One of the most intriguing aspects of the Golden Record Award Album Volume 1 is its stereo format. 1958, stereo recordings were still a relatively new technology in the consumer market. The first stereo LPs were only introduced the previous year, making this Crown Records release quite advanced for a budget label.
The stereo sound offered a more immersive listening experience, with instruments and vocals spread across two channels instead of the single channel of mono recordings. For budget-conscious music fans, this Crown compilation provided an affordable way to experience the latest in audio technology.
Olmsted Sound Studios: A Link to Music History
An interesting tidbit about this compilation is that the lacquer master was cut at Olmsted Sound Studios. While this detail might seem insignificant at first glance, it provides a fascinating connection to later developments in music history.
Olmsted Sound Studios, located in New York City, was a well-respected recording facility in the 1950s and 1960s. This connection is particularly intriguing because the same studio would later work with legendary guitarist Jimi Hendrix in the late 1960s, just a decade after this Top-12 compilation was produced.
This connection reminds us of the music industry's interconnected nature. The same facilities that produce budget compilations could also be involved in groundbreaking recordings by iconic artists.
The Bihari Brothers: Controversial Figures in Music History
While the Golden Record Award Album Volume 1 is a fascinating artifact in its own right, it's impossible to discuss Crown Records without delving into the controversial practices of its founders, the Bihari brothers.
Building an Empire
Jules, Saul, Joe, and Lester Bihari built their record label empire, starting with Modern Records, a semi-reputable R&B label founded in the 1940s. They quickly recognized the potential in the budget record market and expanded their operations to include several labels, including Crown Records.
The Biharis were known for their business acumen and ability to spot music industry trends. They were among the first to recognize the commercial potential of R&B and rock and roll, and their labels played a significant role in bringing these genres to a wider audience.
Questionable Business Practices
However, the Bihari brothers' success was often built on questionable business practices that exploited the artists they worked with. One of their most controversial tactics was to list themselves as co-writers on copyrighted material. This allowed them to claim a larger share of the royalties, often at the expense of the actual songwriters and performers.
For example, they would sometimes make minor changes to existing blues songs and then copyright these "new" versions under their own names. This practice was particularly harmful to African American blues artists, many of whom were already struggling to receive fair compensation for their work.
The Ethics of Budget Labels
The practices of the Bihari brothers and Crown Records raise important questions about the ethics of the music industry, particularly in the context of budget labels. On one hand, these labels made music more accessible to a wider audience, potentially introducing listeners to genres and artists they might not have otherwise encountered.
On the other hand, the methods used to produce these affordable records often came at the cost of fair compensation for artists and songwriters. While legal, using uncredited session musicians to record sound-alike versions of hit songs denied the original artists potential royalties and recognition.
Significance in Music History
Despite the ethical concerns surrounding its production, the Golden Record Award Album Volume 1 remains a significant artifact in music history for several reasons:
Preservation of 1958 Hits: While the album doesn't feature the original artists, it does preserve performances of popular songs from 1958. The Crown Records versions might be among the few surviving contemporary stereo recordings of some of these songs.
Snapshot of Popular Music: The track listing provides a snapshot of the diverse popular music landscape in 1958, including rock and roll, novelty songs, and traditional pop.
Early Stereo Recording: As an early stereo release, particularly for a budget label, this album represents the cutting edge of consumer audio technology in the late 1950s.
Insight into Budget Label Practices: The album offers valuable insights into budget labels' practices in the 1950s, including using sound-alike recordings and marketing compilations.
Connection to Broader Music History: The album's production at Olmsted Sound Studios connects it to broader threads in music history, including the later work of influential artists like Jimi Hendrix.
Legacy and Collectibility
A Rare Find for Collectors
The Golden Record Award Album Volume 1 holds a special place in the world of record collecting. Its rarity, particularly in stereo format, makes it a prized find for collectors specializing in budget label releases or 1950s music memorabilia.
Several factors contribute to its scarcity:
Limited Initial Production: As a budget release, it likely had a smaller initial production run than major label releases.
Stereo Format: Stereo records were still relatively new in 1958, and many consumers still had mono playback equipment, potentially limiting demand for the stereo version.
Passage of Time: Many budget records were treated with different care than more expensive releases, leading to fewer surviving copies in good condition.
For collectors, finding a well-preserved copy of this album can be a thrilling experience, offering a tangible connection to the music industry practices of the 1950s.
Value to Researchers and Historians
Beyond its appeal to collectors, the Golden Record Award Album Volume 1 is a valuable resource for music researchers and historians. It provides insights into:
Popular Music Trends: The track listing offers a snapshot of popular songs to be included on a budget compilation in 1958.
Sound-Alike Techniques: Researchers can study studio musicians' techniques to recreate popular songs by comparing these recordings to the originals.
Early Stereo Production: The album exemplifies early stereo production techniques, particularly for budget labels.
Music Industry Practices: The very existence of this album illuminates the business practices of budget labels and their role in the broader music industry ecosystem.
The Ethical Dimension Revisited
While celebrating the historical and collectible value of this album, it's important to revisit the ethical concerns surrounding its production. The practices of Crown Records and the Bihari brothers highlight ongoing issues in the music industry:
Fair Compensation: The use of uncredited musicians and the appropriation of songwriting credits raise questions about fair compensation in the music industry, issues that remain relevant today.
Intellectual Property: The album's sound-alike recordings exist in a gray area of intellectual property law, a topic that remains contentious in the digital age.
Preservation vs. Exploitation: While budget labels like Crown Records played a role in preserving and popularizing certain musical styles, their methods often exploited the original artists.
These ethical considerations add another layer of complexity to our understanding and appreciation of artifacts like the Golden Record Award Album Volume 1.
Digital Preservation and Accessibility
In recent years, efforts have been made to digitize and preserve recordings from this era, including budget label releases. In April 2024, it was reported that this particular album had been made available online in 2019 by a party claiming rights to the recordings.
This digital availability raises new questions:
Copyright and Ownership: The complex history of these recordings makes determining current ownership challenging.
Preservation: Digital preservation ensures that these historical recordings remain accessible, even as physical copies deteriorate.
Ethical Distribution: How can we balance the historical and educational value of making these recordings available with the ethical concerns surrounding their original production?
Fair Use and Research: These digital versions provide valuable resources for researchers and historians, potentially falling under fair use for academic purposes.
It's worth noting that even modern content identification systems, like YouTube's, took several weeks to flag these recordings, highlighting the ongoing challenges in managing the rights to historical music recordings.
Conclusion: A Window into Music History
The Crown Records Golden Record Award Album Volume 1 is more than just a collection of sound-alike recordings from 1958. It's a multifaceted artifact that provides valuable insights into the music industry of the 1950s, the rise of stereo technology, the practices of budget labels, and the complex ethical issues surrounding music production and distribution.
For collectors, it remains a prized find, a tangible link to a pivotal era in popular music. For researchers and historians, it offers a wealth of information about music trends, recording techniques, and industry practices of the time.
As we listen to these tracks today, we're not just hearing imitations of 1958's biggest hits. We're experiencing a unique moment in music history that encapsulates the innovation, controversies, and enduring appeal of the early rock and roll era.
The story of this album, from its original production to its recent digital preservation, reflects the music industry's ongoing evolution. It reminds us of how far we've come regarding technology and ethical standards while highlighting issues that continue to challenge the industry today.
In the end, the Golden Record Award Album Volume 1 stands as a testament to the enduring power of music to captivate, inspire, and provoke thought, even decades after its creation. It invites us to listen not just with our ears but with our minds – to hear the music and its complex history.
